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Appearing ten years after the conflict began, Otto Dix's monumental portfolio Der Krieg (The war) neither glorifies World War I nor heroizes its soldiers but shows, in fifty unrelentingly graphic images, the horrible realities experienced by someone who was there. Dix, an artillery gunner in the trenches at the Somme and on the Eastern Front, focused on the aftermath of battle: dead, dying, and shell-shocked soldiers, bombed-out landscapes, and graves.

Dix manipulated the etching and aquatint mediums to heighten the emotional and realistic effects of his meticulously rendered images of horror. He stopped out ghastly white bones and strips of no man's land, leaving brilliant white patches; multiple acid baths ate away at the images, mimicking decaying flesh.

Titles detailing precise places and dates confer an illusion of documentary authenticity. Dix did not transcribe his wartime sketchbooks; these nightmarish scenes are based on his memories of battle, on photographs (including many that had been censored during wartime), and on catacombs. For Dix, these prints were like an exorcism. Dix's publisher, Karl Nierendorf in Berlin, circulated the portfolio throughout Germany with a pacifist organization, Never Again War, though Dix himself doubted that his prints could have any bearing on future wars. Despite the intensive publicity, Nierendorf sold only one complete portfolio from the edition of seventy.

Art By Otto Dix

The Flare (Leuchtkugel) - Otto Dix

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The Flare (Leuchtkugel) - Otto Dix Poster
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The Flare (Leuchtkugel) - Otto Dix Poster
Framed • 12x12 inches

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The Flare (Leuchtkugel) - Otto Dix Art Print
Rolled • 12x12 inches

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The Flare (Leuchtkugel) - Otto Dix Art Print
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The Flare (Leuchtkugel) - Otto Dix Art Print
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The Flare (Leuchtkugel) - Otto Dix Canvas Print
Rolled • 12x12 inches

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Compact Size

Compact Size

The Flare (Leuchtkugel) - Otto Dix Canvas Print
Rolled • 18x18 inches

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Small Size

The Flare (Leuchtkugel) - Otto Dix Canvas Print
Wrapped • 12x12 inches

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Small Size

Small Size

The Flare (Leuchtkugel) - Otto Dix Canvas Framed Print
Framed • 12x12 inches

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Medium Size

Medium Size

The Flare (Leuchtkugel) - Otto Dix Canvas Print
Rolled • 24x24 inches

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Compact Size

Compact Size

The Flare (Leuchtkugel) - Otto Dix Canvas Print
Wrapped • 18x18 inches

Buy now for

Compact Size

Compact Size

The Flare (Leuchtkugel) - Otto Dix Canvas Framed Print
Framed • 18x18 inches

Buy now for

Medium Size

Medium Size

The Flare (Leuchtkugel) - Otto Dix Canvas Print
Wrapped • 24x24 inches

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Medium Size

Medium Size

The Flare (Leuchtkugel) - Otto Dix Canvas Framed Print
Framed • 24x24 inches

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Small Size

Small Size

The Flare (Leuchtkugel) - Otto Dix Framed Print
Framed with Mat • 12x12 inches

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Compact Size

The Flare (Leuchtkugel) - Otto Dix Framed Print
Framed with Mat • 18x18 inches

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Medium Size

Medium Size

The Flare (Leuchtkugel) - Otto Dix Framed Print
Framed with Mat • 24x24 inches

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The Flare (Leuchtkugel) - Otto Dix Poster
Rolled • Life Size 24X33 inches

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Large Size

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The Flare (Leuchtkugel) - Otto Dix Poster
Framed • Life Size 24X33 inches

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Appearing ten years after the conflict began, Otto Dix's monumental portfolio Der Krieg (The war) neither glorifies World War I nor heroizes its soldiers but shows, in fifty unrelentingly graphic images, the horrible realities experienced by someone who was there. Dix, an artillery gunner in the trenches at the Somme and on the Eastern Front, focused on the aftermath of battle: dead, dying, and shell-shocked soldiers, bombed-out landscapes, and graves. Dix manipulated the etching and aquatint mediums to heighten the emotional and realistic effects of his meticulously rendered images of horror. He stopped out ghastly white bones and strips of no man's land, leaving brilliant white patches; multiple acid baths ate away at the images, mimicking decaying flesh. Titles detailing precise places and dates confer an illusion of documentary authenticity. Dix did not transcribe his wartime sketchbooks; these nightmarish scenes are based on his memories of battle, on photographs (including many that had been censored during wartime), and on catacombs. For Dix, these prints were like an exorcism. Dix's publisher, Karl Nierendorf in Berlin, circulated the portfolio throughout Germany with a pacifist organization, Never Again War, though Dix himself doubted that his prints could have any bearing on future wars. Despite the intensive publicity, Nierendorf sold only one complete portfolio from the edition of seventy.


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